by Richard Worth
The story goes that Stan Lee was dragging his feet on Marvel’s latest bid to catch up with the Distinguished Competition. He was becoming bored with the monster-matinée mags he made with Kirby and uninspired by the sci-fi parables he produced with Ditko and now his bosses had tasked him with making a book to rival DC’s newest hit, Justice League.
Stan wasn’t one for superheroes. They were too perfect, too unflawed, and too unfit for the hyper-dramatised, purple prose that was Stan’s hallmark. He moped and complained about his artistic integrity, as writers are wont to do, boring all around him until his perpetually patient wife finally told him to get on with it. Continue Reading
by Alex Valente
In February, the Image Comics/Milkfed Criminal Masterminds Inc. series Bitch Planet reaches its third issue in an ongoing series (tentatively, out of 30). Written by Kelly Sue DeConnick (Captain Marvel, Pretty Deadly), drawn by Valentine De Landro (X-Factor), coloured by Cris Peter and lettered by Clayton Cowles, the book features a wonderful design by Rian Hughes (covers and title) and Lauren McCubbin (backmatter) and is tightly edited by Lauren Sankovitch. There will be no invisible labour here.
After three issues under its belt (depending on when this piece is published), it feels a little strange to write a review — so this is not a review, not exactly; this is an appreciation.
DeConnick uses her writing to build a dystopian setting in which patriarchal structures have reached such an overt manifestation of power that the rulers — the New Protectorate — are a bunch of old men who call themselves The Fathers. A society whose constant, obsessive message is ‘You are broken, you are fat, you must obey, you must comply’, a society that has rejected the idea of Mother Earth (‘Earth is the Father’) and created the Auxiliary Compliance Outpost — affectionately referred to as Bitch Planet – as a space (‘the Mother’) penitentiary for non-compliant women.Continue Reading